鄭路大型個(gè)展《耳且》于上海龍美術(shù)館開幕
耳且/鄭路
Re-sist-ance/Zheng Lu
策展人：呂澎
Curator: Lv Peng
開幕式：2016年10月27日（周四）
下午4：00—7：00
2016年10月27日—12月21日
Opening: Thursday, October 27, 2016, 4:00 –7:00 pm
Duration: October 27, 2016 – December 21, 2016
龍美術(shù)館（西岸館） | 上海市徐匯區(qū)龍騰大道3398號(hào)
Long Museum (West Bund), No. 3398, Longteng Avenue, Xuhui District, Shanghai
鄭路首次于上海的大型個(gè)展《耳且》于2016年10月27日于上海龍美術(shù)館西岸館呈現(xiàn)，展覽展出2016年全新創(chuàng)作的8組作品。
"耳且"一詞，取"阻"字的左耳刀偏旁和右"且"字組合而成。“阻”取“阻力”之意，即妨礙物體運(yùn)動(dòng)的作用力及阻礙事物發(fā)展或前進(jìn)的外力。阻力在一般語(yǔ)境里等同于障礙。如梁?jiǎn)⒊裕?ldquo;天下一切事悉有阻力，阻力悉去，百事畢舉矣。”“耳且”這個(gè)新造詞正如其發(fā)音一樣，并列遞進(jìn)生成另外一層語(yǔ)義，在障礙之中探知阻力的美學(xué)。
鄭路自2015年臺(tái)北當(dāng)代美術(shù)館個(gè)展《潮騷》和北京芳草地當(dāng)代藝術(shù)館《唯止》開始進(jìn)入到更為具有挑戰(zhàn)性的階段，他開始尋求調(diào)動(dòng)更多的媒介和材料。轉(zhuǎn)注、假借、指事、會(huì)意、形聲、象形，筆畫從來(lái)都不是孤立的物質(zhì)，而匯入了語(yǔ)義和圖像的海洋。
鄭路的造像系統(tǒng)亦是如此，所有孤立的物質(zhì)、形象、符號(hào)、邏輯都借由他者而獲得轉(zhuǎn)化，真而幻、幻而真，都不可遏制的朝向它的對(duì)立面而轉(zhuǎn)化。
在本次個(gè)展《耳且》中，藝術(shù)家開始更多的討論時(shí)序、空間和變遷，從這個(gè)角度，關(guān)于造像的詩(shī)歌逐漸開始向關(guān)于造像的哲學(xué)轉(zhuǎn)化：他想解決的課題是將之前一直糾纏于他的感性處理與觀念設(shè)置的沖突拋之度外，讓自己內(nèi)心矛盾的敘述更為自由、更為解放地表露出來(lái)：人類的日常或者我們所理解的一般世界沒(méi)有什么是清晰與能夠斷定的；任何一處風(fēng)景都具有其自在的合理性，你可能遭遇到“自然”的風(fēng)景，但那很可能僅僅是一種幻覺(jué)。某種宇宙的力量彌漫在我們的周圍，你會(huì)感到恐懼，或者興奮，然而，如果我們脫離這個(gè)社會(huì)，如果我們還試圖回到當(dāng)初的情景，你就會(huì)遭遇到理想主義的磨難：回到當(dāng)初與走向未來(lái)都是悲劇。
鄭路，1978年生于內(nèi)蒙古赤峰市，曾分別就讀于魯迅美術(shù)學(xué)院雕塑系及中央美術(shù)學(xué)院雕塑系。2005年獲得L.V.M.H.青年藝術(shù)家大賽獎(jiǎng)學(xué)金在巴黎國(guó)立美術(shù)學(xué)院學(xué)習(xí)。鄭路在近幾年來(lái)不斷的個(gè)人實(shí)踐當(dāng)中逐漸構(gòu)建和完善了自己的藝術(shù)邏輯和語(yǔ)言系統(tǒng)。他將物質(zhì)、文字、水、時(shí)間、空間等概念納入自成體系的觀念構(gòu)架中，形成了個(gè)人獨(dú)特的語(yǔ)言表現(xiàn)方式。同時(shí)也借此來(lái)暗喻生命狀態(tài)的多樣性和可能性，及如何應(yīng)對(duì)自然、自性和自我之間的關(guān)系。
“Re-sist-ance”, Zheng Lu’s first large-scale solo exhibition in Shanghai, comprising eight of his new works produced in 2016, will be held at Long Museum (West Bund) in Shanghai on October 27, 2016.
The title "耳且", pronounced “erqie”, is the morphological composition of "阻" , meaning “resistance” in Chinese, in other words, any mechanical force that tends to retard or oppose motion. In general, “resistance” is synonymous with “obstacle”, as was said by Liang Qichao, a renowned Chinese scholar during the late Qing dynastyand the early Republic of China, “Everything in this world meets resistance, and we call it a success when resistance is crushed.” Moreover, this coinage, homonymous with “and” or “also” in Chinese, generates a new sense of parallel and progression, turning therefore the exhibition into a kind of exploration into the aesthetics of resistance.
“Shiosai”, Zheng’s solo exhibition at MOCA, Taipei, in 2015, and “Transition” Zhenglu’s solo exhibition at Parkview Green Museum marked a new stage in his art. During his search for new media and material for art, he found that, the six categories of Chinese characters, i.e., self-explanatory characters, pictographs, pictophonetic characters, associative compounds, mutually explanatory characters and phonetic loan characters, give each stroke the opportunity to participate in the semantic and imagery fields, rather than being something isolated. So does his image-making system. All the seemingly isolated material, images, symbols and logic, transform one another to make something virtually real whose constituents keep converting themselves into their opposites.
This solo is more concerned with the time series, space and change, which explains the artist’s effort to move from the poetics of image-making to the philosophy of image-making. Aiming at freeing himself from the conflict between the sensory experience and the concepts, he heads for liberal expression of the inner conflict. Nothing about human life or the world is absolutely clear or definite, and any landscape or spectacle has its reason of being, so you may run into a “natural” landscape, but it may well be an illusion only. Emerged in the pervasive universe, we experience terror or excitement, but we would still suffer as an idealist if we go back to our origin--- it is doomed to be a tragedy, whether we return to the past or go toward the future.
Zheng Lu was born in 198 in Chifeng, Inner Mongolia. He had a BA and MA from Luxun Academy of Fine Arts (Sculpture Department) and Central Academy of Fine arts (Sculpture Department). In 2005, he won L.V.M.H. Young Artists’ Awards in France, and thus had the opportunity to study in Ecole National Supérieure des Beaux-Arts.
Recent years has seen Zheng gradually setting up and improving his own logic and vocabulary in art on the basis of practice and experiment. Substances, s, water, time, space, and a number of concepts are included into his aesthetic world to form an organic whole, from which derives his unique renderings. In the meanwhile, his works are also metaphoric of the diversity and the possibility of life, as well as of our response to the relation between nature, the self, and the ego.
